Continuum Journal of Media & Cultural Studies ISSN: (Print) (Online) Journal homepage: https://www.tandfonline.com/loi/ccon20 Perpetrating and resisting fortress USA: documentary strategies of National Bird and Fahrenheit 11/9 Janet Walker To cite this article: Janet Walker (2020) Perpetrating and resisting fortress USA: documentary strategies of NationalBird and Fahrenheit11/9, Continuum, 34:2, 180-196, DOI: 10.1080/10304312.2020.1737430 To link to this article: https://doi.org/10.1080/10304312.2020.1737430 Published online: 05 Mar 2020. Submit your article to this journal Article views: 59 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=ccon20 CONTINUUM: JOURNAL OF MEDIA & CULTURAL STUDIES 2020, VOL. 34, NO. 2, 180–196 https://doi.org/10.1080/10304312.2020.1737430 Perpetrating and resisting fortress USA: documentary strategies of National Bird and Fahrenheit 11/9 Janet Walker Department of Film and Media Studies, University of California, Santa Barbara, CA, USA ABSTRACT KEYWORDS This article analyzes two documentary films that figure the enmesh- Documentary film; ment of individuals and institutions in attitudes and practices of perpetrator testimony; ‘fortress USA’ and studies the role of media in facilitating and resisting fortress USA; drone war; that process. Whereas a large share of the scholarly literature on National Bird; Sonia Kennebeck; U.S.-Mexico trauma and documentary has focused for good reason on the atro- ’ border; Fahrenheit 11/9; cities of Hitler s Holocaust, the Cambodian Genocide, and the Michael Moore Rwandan Genocide, and on the testimonies of survivors, the docu- mentary films under study here present certain actions by the United States as perpetrative: that is to say, as rife with casualties and as racist, media-dependent, and insupportable from the perspective of social justice. National Bird features whistleblowers of the U.S. drone war. Fahrenheit 11/9 probes Donald Trump’s deployment of mediated, divisive speech. The particular aim of this article is to demonstrate how these significant and timely works make innovative and often- times reflexive use of testimony, drone imaginaries, and ‘Border Spectacle’, thereby interrupting the lethal agendas of fortress USA. ‘But I want the cameras to span the room. Go ahead fellows. Watch. They don’t turn ‘em... Go ahead turn ‘em . You with the blonde hair. Turn the camera. Show ‘em how many people come to these rallies’. These are the instructions of then-presidential candidate Donald J. Trump speaking at a rally in Grand Rapids, Michigan on 21 December 2015, footage of which is excerpted in the documentary film Fahrenheit 11/9 (Moore 2018). In response, the camera zooms out to a wide shot and another shot pans the room to reveal Merry Christmas wreaths and an American flag framing Trump’s podium, and ‘Make America Great Again’ (MAGA) signs in the hands of the cheering crowd. As president since January of 2017, his efforts through all three branches of government have bent towards deregulating and dismantling offices and agencies designed to serve the public good; providing sub- sidies and tax breaks for wealthy individuals and extractive corporations; encouraging voter disenfranchisement efforts aimed at people of colour; stoking racist and anti-LGBTQIA sentiment and behaviour; entrenching a security state; enacting a foreign policy that kills. MAGA ideology is animated by the conviction that America’s borders must be secured at all costs against perceived threats from abroad. Moore’s earlier film from 2004, the CONTACT Janet Walker jwalker@filmandmedia.ucsb.edu Author’s note: Many thanks to Fernando Canet for his incisive and generous editorial input, and to the anonymous reviewers for their discerning suggestions. I am grateful to Sonia Kennebeck for talking with me about her investigative filmmaking process and the ethical and aesthetic choices that resulted in the extraordinary National Bird. © 2020 Informa UK Limited, trading as Taylor & Francis Group CONTINUUM: JOURNAL OF MEDIA & CULTURAL STUDIES 181 hugely successful Fahrenheit 9/11, tracked President George W. Bush’s instrumentalization of the ‘War on Terror’ after the September 11th attacks on the World Trade Center in New York City. The newer film, Fahrenheit 11/9, reveals how – before and after that fateful November election day – Trump has consolidated power by enacting a geopolitics of insiders and outsiders. The post-Cold War formation known as ‘Fortress Europe’ is being mimicked in the U.S. The subject of interdisciplinary scholarship, ‘Fortress Europe’ signals both the concrete installations and policies of border security and the critique of this programme and of the discursive figure of exclusion (Bigo 2002; Walters 2004; Pinos 2009; Carr [2012] 2016). ‘Fortress USA’, ‘Fortress America’,or‘Fortress North America’ has a similar history and resonance, and an emergent literature (Andreas and Biersteker [2003] 2014; Alboim and Aiken 2017). As Bigo writes: Securitization of the immigrant as a risk is based on our conception of the state as a body or a container for the polity. It is anchored in the fears of politicians about losing their symbolic control over territorial boundaries (2002, 65). President Trump has expanded the use of weaponized drone strikes on overseas targets – thus, establishing an outer ring of the fortress beyond U.S. soil – and ordered drastic measures against U.S. Southern border crossers including children in the name of national security.1 The American effectuation of exclusion and harm is an apt subject for a special issue on documentary film and perpetration, given that the word perpetration – from the verb to perpetrate and the Latin perpetrāre – is defined as the carrying out, execution, or performance of harmful, illegal, or immoral acts. Many forceful realities of the U.S. drone program and of the situation at the U.S.-Mexico border remain veiled in secrecy. Yet ‘Border Spectacle’, as Nicholas De Genova termed it even before Trump’s rise, has played a political role (2013). Some Americans might be surprised to learn that significantly more unauthorized residents overstay their visas than enter across the border, and that the number of would-be crossers has been on an overall downward trend since 2000 (Gonzales 2019). What Trump pressured the news cameras to show in 2015 was the size of the crowd and its enthusiasm for his pronouncement of ‘us’ and ‘them’ values. This article analyzes two documentary films that figure the enmeshment of actors and institutions (above and beyond the actions of individual ‘bad apples’) in realizing the state as a ‘container for the polity’ and embodiment of ‘fortress USA’. A concordant goal is to analyse how these significant and timely works make innovative and sometimes reflexive use of testimony, drone imaginaries, and ‘Border Spectacle’ to interrupt the lethal agen- das of fortress USA. National Bird (Kennebeck 2016), created during the Obama adminis- tration and officially released in the U.S. two days after Trump was elected, centres on former participants in the U.S.’s semi-secret foreign drone war. National Bird was screened at festivals around the world and Executive Produced by documentary luminaries Wim Wenders and Errol Morris. Among other compelling elements to be discussed below, the film is highly meaningful for bringing into being, rather than merely documenting as pre- given, the acts of testimony and whistleblowing that its protagonists risk – and for revealing as perpetration the institutional constellations of U.S. drone weapon use. Fahrenheit 11/9 is largely about Trump’s political persona and strategic use of racist rhetoric. Differently but relatedly, these films illuminate post-9/11 violence against ‘the other’ and establish fresh strategies for documenting perpetration. Fahrenheit 11/9 182 J. WALKER garnered a Critic’s Choice Documentary award nomination for Best Political Documentary and a Writers Guild of America nomination for Best Documentary Screenplay, as well as extending Fahrenheit 9/11’s critique of post-globalization U.S. nationalism.2 National Bird and Fahrenheit 11/9 together expand the dimensions of ‘the perpetrator’ as an heuristic, and as an array of participants inhabiting different roles (LaCapra 1999; Morag 2013). Like most of the works we might call, for short, ‘perpetrator docs’, these two films are anti-perpetration documentary films. Given this ameliorative orientation and media’s role in co-constituting the cultural and physical environments in which perpetra- tion inheres, the repertoires of these two works for unmaking perpetration are valuable to know. This article will proceed to show how each of these documentary films uses and productively complicates the testimonial mode – key to the cultivation of video archives for truth and reconciliation initiatives around the globe (Guerin and Hallas 2007; Sarkar and Walker 2010; Morag 2013; Shenker 2015) – while also reimagining drone imagery and critiquing ‘border spectacle’ (De Genova 2013). Perpetration is savagery that happens body to body, finger to button to bomb, pen to policy, media to environment, and in and through architectures of detention, imprison- ment, exclusion, and extermination. While a large share of the scholarly literature on trauma and documentary film focuses for good reason on the atrocities of Hitler’s Holocaust, the Cambodian Genocide, the Rwandan Genocide, and the Indonesian Mass Killings of 1965–66, and on the testimonies of survivors, this article studies two docu- mentary films that help articulate United States policy and activities by Americans as perpetrative – that is to say, rife with casualties – and as racist, media-dependent, and insupportable from the perspective of social justice. Enacting, entangling, and interrupting perpetrator testimony In ‘Documenting Atrocities around the World: Why Engage with the Perpetrators?’, Fernando Canet makes a case for the social benefit of portraying perpetrators’ perspec- tives, especially where they arc from ‘remembrance, recognition, remorse, and redemp- tion’, and, ideally in conjunction with the voices of victims, onward to reconciliation (2019, 3).